Description:
In music education, aesthetic education and praxial music education serve as two major, guiding philosophical frameworks, yet supporters of each often conflict with one another. Furthermore, both are slightly problematic with respect to the specific context of the public school. Each framework is primarily music-based, however, music education has existed in the wider context of general education since the 1830s. Given the recent core-status designation for music education, as part of all fine arts, in the reauthorization of the Elementary and Secondary Education Act, a framework from general education that supported music education could offer benefits for the domain. However, the wider context of general education is messy as well. Two groups occupy most of the space there, and remain locked in a fundamental disagreement over the purpose of a formal education. The progressive educators, historically framed by Dewey and Thorndike, contend that education functions as societal improvement. In contrast, the essentialists contend that education functions as cultural transmission. Therefore, a more specific need for music education involves selecting a framework from general education that resolves this conflict. The writings of William Chandler Bagley indicate that he balanced both considerations of a formal education while also advancing his notion of essentialism. Bagley differed from the progressive educators predominately associated with Dewey over definitions and ideas surrounding a democratic education. Emergent points of contrast with Thorndike include distinctions between social efficiency and Bagley's alternative idea of social progress. Bagley also diverged from other essentialists over definitions concerning liberal and cultural education. To make these viewpoints of Bagley explicit, I describe characteristics of a progressive education, and an essentialist education separately, before introducing Bagley. Finally, I apply Bagley's ideas into the domain of music education. Ultimately, I contend that through common outcomes of creativity, competition, and literacy, the domain of music education ...

Description:
This study examines the phenomenon of contemporary a cappella music making found in high school settings as curricular and extra-curricular offerings. Past music and music education literature has focused exclusively on contemporary a cappella at the collegiate level. Through application of a descriptive phenomenological method and incorporation an educational-sociological lens, this study advances an understanding of the educational benefit and social value of membership in contemporary a cappella at the high school level. Six recent members from three regions of the United States provided data through individual open-form interviews in which questions were derived from the participants’ own speech. I incorporated phenomenological reductions and processes to negate researcher bias during data collection, analysis, and the formation of a general structure and constituent meanings of membership in high school contemporary a cappella. Participants utilized traditional music skills, individual talents, conceptions of popular culture and music, and in-group socialization to facilitate music making and reify membership. Expressing the value of group membership, individuals acted to benefit the group by cultivating social bonds, developing and fostering personal/shared connections to songs, identifying and purposing individual talents and skills, and gaining an understanding of each members’ unique contribution to membership. Discussion includes implications for music education and suggestions for future research.

Description:
The purpose of the meta-analysis was to address the varied and somewhat stratified study results within the area of singing ability and instruction by statistically summarizing the data of related studies. An analysis yielded a small overall mean effect size for instruction across 34 studies, 433 unique effects, and 5,497 participants ranging in age from 5- to 11-years old (g = 0.43). The largest overall study effect size across categorical variables included the effects of same and different discrimination techniques on mean score gains. The largest overall effect size across categorical moderator variables included research design: Pretest-posttest 1 group design. Overall mean effects by primary moderator variable ranged from trivial to moderate. Feedback yielded the largest effect regarding teaching condition, 8-year-old children yielded the largest effect regarding age, girls yielded the largest effect regarding gender, the Boardman assessment measure yielded the largest effect regarding measurement instrument, and song accuracy yielded the largest effect regarding measured task. Conclusions address implications for teaching, research pedagogy, and research practice within the field of music education.

Description:
The purpose of this descriptive study was to discover Texas middle school choir directors’ perceptions and applications of multicultural education in their classrooms. Three research questions guided this investigation: (1) What were middle school choir director’s perceptions about multicultural music education?; (2) How did middle school choir directors apply multicultural music pedagogy in their classrooms?; and (3) How did middle school choir directors perceive professional development opportunities in multicultural music education? Texas middle school choir directors perceived that the purpose of multicultural music was to expose students to different cultures and diverse worldviews through music. Teachers listed several social and musical benefits of studying multicultural music including broadening musical horizons, cultural appreciation, and expansion of student worldviews. Teachers consciously programmed multicultural music for most of their concerts, and some chose literature based on their students’ cultural backgrounds. Although most teachers tried to make multicultural music experiences genuine for students, authenticity was the foremost pedagogical concern regarding multicultural music pedagogy. Teachers tended to utilize a combination of music concept and sociocultural approaches when teaching multicultural music by comparing multicultural music to Western music and using classroom discussions to discuss social issues that lend context to the music. Professional development opportunities in multicultural music education were available through the state music organization (TMEA), but rarely at the district or the campus level. Teachers also reported opportunities at the national level for professional development.

Description:
The purpose of this study was to investigate constructions of choir identity among high school choir students in the United States public school classroom setting. The research questions were (a) what are the processes involved in construction of choir identity and (b) how are the processes related to the group identity of the choir. The data were collected through participant observations in one selected choir classroom and semi-structured interviews with students from the choir class. The results included six processes of identity construction as well as identification of the ways in which each process was related to the choir group’s identity. The processes and their links to the overall choir group identity provided further insight into the ways in which high school choir students construct their identities, and they also supported methods of teaching commonly used in high school choir settings.

Description:
A large segment of society is either preparing to enter the work force, or is already engaged in some chosen line of work. Preparing to enter the work force takes a considerable amount of time and effort. The decision to follow one career path over countless others may, on the surface, appear to be discretely individual. But when viewed from a sociological perspective, occupational choices are implicitly and explicitly reached through a consensus of contributing factors. Consequently, an occupational identity is not how an individual describes a personal work-related self, but is rather dialectic. It is the merging, albeit, negotiation of viewpoints which causes persons to view themselves in relationship with how others think of them. It is expected that students newly enrolled in music education degree programs will, with time, replace erroneous lay conceptions of music teaching with those presented in curricula and espoused by significant role models. However, the professional socialization process, characteristic of music education degree programs, has not always been successful in transforming students’ personal perspectives of music teaching. This transformation process is critical toward the development of occupational identities that are congruent with school music teaching positions. There has been an established line of research in music education that examines who school music teachers are from a sociological perspective. When pursuing this literature, however, it became evident that, over time, the term identity had been used under many different guises, incorporating mixed perspectives from among the social sciences. The studies that have dealt with occupational identity have done so for different purposes, employing different theories and methodologies. While any of these previous research protocols may be useful for particular purposes, the reality is that the terms identity and occupational identity have become interchangeable. The term identity is sometimes used to denote self-concept or role concept ...

Description:
The increasing cultural diversity in the United States has brought not only richness, but also complex challenges, to various segments of American society, particularly with regard to public schools. As the student population continues to diversify while teacher population remains predominately White, female, and middle class, teacher awareness in the classroom might be an integral piece to assist students marginalized by stereotypes in feeling more empowered in the school community. Through qualitative data collection and analysis, and framed by Basil Bernstein’s language code theory, this study explored teachers’ perceptions of how classroom interactions, in light of differences in communication, might impact students of different socio-economic backgrounds from the teacher. The findings of this study indicated that the participants expressed a desire to connect with all of their students, regardless of their background. They also discussed challenges that made relationships difficult, such as feelings of disconnect from their Title I students and their families based on differences in home life and background. This dissonance was often difficult for the participants to reconcile due to pressures and difficulties in their teaching situations, such as the large number of students and the scheduling of classes, curricular pressures, and other district expectations such as after-school ensembles. Implications for practicing music teachers and teacher education include ways to understand students’ communities and rethinking ways of approaching relevant terminology in education.

Description:
The purpose of this study was two-fold: 1) to compare the effects of three different composition tasks with varying degrees of structure on pre-service music teachers’ creative self-efficacy as composers and their instructional self-efficacy as pedagogues of composition; and 2) to describe through pre-service music teachers’ talk perceptions of composition and their experiences completing the three composition tasks. Participants (N = 29) were music education majors from three different sized universities in the northern-central region of the United States. At the beginning of the study, the participants answered a researcher-design self-efficacy questionnaire that measured (a) their self-efficacy as composers and (b) their self-efficacy as teachers of composition. Next, they composed three compositions of various task structures (unstructured, poem, and rhythm). Immediately after completing each task they again completed the self-efficacy questionnaire. Statistically significant mean differences between the pre-task administration of the measuring instrument and all three composition tasks were found for the pre-service teachers’ compositional self-efficacy. Statistically significant mean differences were also found between the unstructured task and the rhythm task, but not between the rhythm and poem tasks or the unstructured and poem tasks. For the pre-service teachers’ self-efficacy as pedagogues of composition question, the results were also statistically significant between the pre-task administration of the measuring instrument and all three composition tasks. Statistically significant mean differences were also found between the unstructured task and the rhythm task as well as the poem and rhythm tasks, but not between the unstructured and poem tasks. Additional data were gathered through semi-structured one-on-one interviews. Through their talk the pre-service music teachers commented that they enjoyed the overall composition process. This experience also seemed to challenge the participants’ assumptions about composition and appeared to make creative experiences more tenable and relevant to their future classroom experiences. The results of this study suggest ...

Description:
Positive adaptations experienced in spite of challenges faced is known as resilience. Comparatively little research has focused on in-depth descriptions regarding how resilience is manifested in children. The purpose of this study was to add to previous research in the identification of characteristics of resilience in students, and to determine the extent to which band membership has aided their resilience in other domains. Data was collected from a random sample of band seniors from the class of 2011 (n = 3) who attended a large high school in the South. Specific research questions were: (1) What characteristics of resilience are present in the talk of participants in a high school instrumental music program? (2) To what extent has this population perceived that membership in band aided their resilience in other domains? A descriptive study design was chosen that used qualitative data. Following data analysis that included category matrices, prominent themes emerged from the participants’ responses. These included self-improvement, forward thinking, optimism, inner drive, increased achievement, determination, development of relationships to peers and adult mentors, and development of connectedness to the school. The findings of this study complemented previous research on characteristics of resilient students, and suggested that the participants derived positive benefits from group membership and from positively contributing to the school. Recommendations based on these findings for researchers included the need for resilience to be studied across other subject areas in school, and across different populations of students. Recommendations for teachers and administrators included varied opportunities for extra-curricular and co-curricular student engagement.

Description:
Secondary choral directors often demonstrate a wide variety of organizational, instructional, and musical skills to promote and nurture thriving programs. Among the many tasks executed, choosing repertoire might be viewed as one of the most important duties performed. Material chosen for study is often the vehicle through which curricular concepts are taught. Multiple factors might influence middle school choral directors’ beliefs about repertoire choices. Ironically, repertoire choices might or might not reflect educators’ actual teaching philosophies; nevertheless, these decisions could influence student learning. This study surveyed a stratified random sampling of Texas middle school choral directors who participated in the 2010 University Interscholastic League Concert and Sight-reading competition (n = 209). Seventy middle school choral directors participated in the study. Each director took an online survey and indicated the degree to which they agreed or disagreed with 14 statements concerning repertoire choice. Many of the belief statements showed teachers were overwhelmingly in concordance with their beliefs (92.9%). Results indicated that beliefs were similar, regardless of who chose the curriculum or the amount of discussion perceived in undergraduate training. The only belief statement that continually showed differences between teachers concerned students’ ability to vote on repertoire.

Description:
This study used a semistructured interview schedule to identify the music career opportunities available to students who graduate with an undergraduate music degree, and the skills, interests, work values, and personal characteristics that may determine a person's suitability for these music careers. Six university faculty members from each of the 11 NASM-accredited undergraduate music degree fields participated in the study (n = 66). Fourteen professional musicians who were recommended by these faculty members also participated in the study. Concerning the musical and non-musical skills that may determine a person's suitability for a music career, participants consistently noted the importance of performance skills in their respective fields. Participants also consistently cited people skills, and noted that most musicians interact with people on a daily basis, and use people skills to build social networks that may lead to employment. When asked about the interests that may lead someone to a music career, participants commonly cited the importance of good high school ensemble experiences in students' music career decisions. Concerning the rewarding aspects of music careers, many participants noted that they were more rewarded by the ability to support themselves doing what they loved, than by fame or wealth. Concerning the personal characteristics that may determine music career compatibility, participants noted that tenacity is essential to contend with intense competition, extended periods of unemployment, and other common struggles of professional musicians. When asked about music career opportunities in their respective fields, participants reported numerous music careers, some of which were excluded from previous music career inventories. In addition, participants noted that there may be careers for non-musicians in some music career fields. Participants also noted that some music careers may be listed in more than one music career field, creating potential confusion for music career advisors. Finally, participants noted transitions in many music ...

Description:
Nine universities in the United States with the greatest number of international students and having an accredited music program through the National Association of Schools of Music (NASM) were selected. Survey research methodologies were used to identify the status of the international music students from East Asia in U.S. higher education institutions and to determine their attitudes toward their schools. Among East Asian international music students at US higher education institutions, the results indicated that the professor's reputation, scholarships, and the program's reputation were perceived as the most influential factors impacting the program choice; a good relationship with professors, good feedback from professors, and emotional stability were perceived as the most influential factors impacting academic success; and the professor's teaching, the professor's expertise, and the improvement of musical skills were perceived as the most influential factors impacting students' satisfaction level. The most problematic issues reported were the language barrier and the cultural differences between their host and own countries. In addition, many of the East international music students in this study noted financial difficulties.

Description:
The first purpose of this study was to describe collegiate band members' preferred teacher interpersonal behaviors and perceptions of self-efficacy based on the gender, year in college, instrument, and major. The second purpose of the study was to measure the relationship between preferences of interpersonal teacher behavior and self-efficacy scores. The non-probability purposive sample (N = 1020) was composed of band members representing 12 universities from different regions of the United States. There were 4 large public, 4 small public, and 4 private universities that participated in the study. Participants completed 2 questionnaires, the Teacher Interaction Preference Questionnaire (TIPQ) and the Self-Efficacy Questionnaire (SEQ). Descriptive statistics were calculated for each of the questionnaires. Results for the TIPQ showed that all sub-groups most preferred the dominant-cooperative behaviors, followed by submissive-cooperative behaviors, and least preferred the dominant-oppositional behaviors. Results for the SEQ showed subtle variations for all subgroups. Three Pearson product-moment correlation coefficients were calculated to measure the relationship between the three teacher interaction styles (dominant-cooperative, submissive-cooperative, dominant-oppositional) and students' perceived self-efficacy. Due to the possible over-use of the data with multiple correlations, a Bonferroni adjustment was made to avoid a Type I error (.05/3 = .016). A significant positive relationship was found between self-efficacy and dominant-cooperative with 22% shared variance. A significant positive relationship was found between self-efficacy and submissive-cooperative with 7% shared variance. Finally, a significant positive relationship was found between self-efficacy and dominant-oppositional with 5% shared variance. This study's results indicate that it may be beneficial for band directors to measure students' preferences and perceptions of teacher interpersonal teacher behavior in order to find ways to interact better with the students. In addition, due to the relationship between students' preferences of teacher interpersonal behavior and perceived self-efficacy, collegiate band directors may wish to examine their own behaviors to determine ...

Description:
The purposes of this study were to describe the characteristics of the changing male voice in 4th, 5th and 6th grade students using Cooksey's maturation stages and, to compare the age-of-onset of the male voice change in African American, White, and Hispanic male students. Participants included volunteer 4th (n = 61), 5th (n = 73), and 6th grade male students (n = 63) from 2 urban elementary schools, 5 suburban elementary schools, 1 suburban middle school and 1 urban middle school in the North Texas region. The three ethnic groups represented in this study were: African American (n = 62), White (n = 58), and Hispanic (n = 77). Results indicated that approximately 46% of 4th grade participants, 62% of 5th grade participants, and 67% of 6th grade participants were classified as changing voices. A descriptively larger percentage of African American participants were classified as changing voices than Hispanic and White participants. Also, a larger percentage of African American and Hispanic participants were descriptively classified in the more advanced stages of the voice change than White participants. Urban African American, White, and Hispanic participants had a larger percentage of males classified as changing voices than suburban African American, White, and Hispanic participants. Results of a one-way, between subjects ANOVA revealed no significant main effect for ethnicity, F (2, 51) = .42, p = .66, η2 = .02. The overall mean age-of-onset for participants in this study was approximately 11.20 years of age.

Description:
This qualitative study used a multiple case study methodology to explore the nonverbal communication behaviors and role perceptions of pre-service band teachers, and the extent to which these individuals found meaning and value in theatre seminars with respect to those factors. The informants participated in three theatre seminars taught by theatre faculty at the researcher's university. The researcher collected data in the form of videotaped theatre seminar observations, videotaped classroom teaching observations, videotaped informant reflections of teaching episodes, online peer discussions and journaling, and informant interviews. Data were analyzed, coded, and summarized to form case summaries. A cross-case analysis was performed to identify emergent themes. The broad themes identified were past experience, adaptation, realization, and being aware. The informants found that the theatre seminars increased their awareness of nonverbal communication behaviors in the classroom, and had the potential to be meaningful and valuable with respect to their perceptions of their roles as teachers.

Description:
This study examined the musical background characteristics, self-efficacy beliefs, and practice behaviors of string students auditioning for an all-region orchestra in one large South-Central district. Purposes of the study were: (1) to describe the musical backgrounds and self-efficacy beliefs of high school string students, (2) to measure the relationship between self-efficacy scores and performance achievement, and (3) to describe the practice behaviors and thoughts of high and low self-efficacy string students. Questionnaires were given to 101 high school string students; 65 competed in all-region orchestra. Descriptive data from the questionnaire revealed information such as how many took private lessons and that those who did tended to have a higher sense of perceived self-efficacy in relation to playing their string instruments. Other descriptive items asked questions such as whether or not students started in public school and how much they practiced outside of orchestra. The relationship of summed self-efficacy scores to a competition ranking was found to be statistically significant and inverse. For all string participants (n=65) Spearman's rho was, rs= -.37, (p=.001) with 14% of the variance explained (r2 =.14). This inverse relationship documents the linear trend for students with better rankings (lower ranking numbers) to also tend to have higher self-efficacy scores. Observation and interview data of 8 higher and 8 lower self-efficacy sub-group students were also analyzed. The higher self-efficacy sub-group students tended to use more cognitive practice strategies, while the lower self-efficacy sub-group tended to use dissimilar and less advanced strategies. Understanding string students' musical background experiences and characteristics and the possible relationship self-efficacy may have with practice and achievement could benefit certain students. Helping these students gain a higher sense of perceived self-efficacy in their musical endeavors, or obtain certain characteristics that successful students share, could possibly enable them to develop and understand more complex practice ...

Description:
The main purpose of this study was to consider the effects of amplification and vocal function exercises on the perceived vocal health of elementary music educators (N = 37) from Oklahoma (n = 11) and Texas (n = 26). Participants were assigned to the use of the ChatterVoxTM amplifier or vocal function exercises based on pretest scores on the Voice Handicap Index with Music Teacher Voice Questionnaire (VHI/MVQ). Following the 4-week study period, participants completed the posttest VHI/MVQ. The results of a one-way ANCOVA that used treatment group as the independent variable, the summed posttest scores as the dependent variable, and the summed pretest scores as the covariate or control variable indicated that there was a statistically significant difference between the adjusted means for the posttest scores, favoring the exercises group. The overall group and both treatment groups reported frequent loud voice use in work settings and in public places. The overall group and the amplification group reported hoarseness after prolonged talking. The exercises group did not report as great a problem with hoarseness after prolonged talking. Secondary purposes addressed demographic variables. Women perceived greater overall vocal difficulties than men; men frequently reported specific vocal complaints that were not commonly indicated by women. The vocal problems of women may have been associated with loud voice use. The following common vocal complaints of men may have been related to the use of falsetto while teaching: need for vocal rest, worse voices in the evening, dry throats, loss of voice, obvious pitch breaks in their singing voices, pain after singing for an extended time, and limited use of their high range. VHI/MVQ scores indicated that the study participants with 21 to 39 years of teaching experience had more vocal difficulties than other participants and indicated limited use of the low range of ...

Description:
The purpose of the study was to investigate teacher attitudes toward following the Taiwanese arts and humanities curriculum and the relationship of teacher attitudes to four selected curriculum integration factors. These include (1) The quantity of content areas taught in music class, (2) Teachers' satisfaction of their students' learning outcomes, (3) Teachers' confidence in planning lessons, and (4) The number of years spent in curriculum integration. Questionnaires were distributed to 85 stratified random selected junior high schools throughout Taiwan. The school responses rate was 74%. Content validity was checked. The internal consistency reliability ranged from 0.74 to 0.92. Recorder playing, group singing, and music appreciation were found to be the most frequently taught musical skills, the most satisfied students' learning outcomes, the most confident lesson planning areas, and the most important to be included in the music instruction. Writing-by-ear and playing-by-ear were found to be the least frequently taught musical skills, the least satisfied students' learning outcome, the least confident lesson planning area, and the least importance. The two most frequently encountered barriers were insufficient administrative leadership and shallow student learning. The results of the Pearson product-moment correlation coefficient showed a low positive significant relationship between teachers' overall attitudes and the quantity of musical content areas taught (n = 83, r = 0.29, p = 0.007*, r2 = 0.09). Based on prior research, if attitudes that are formed from personal histories are difficult to change, and in order to change attitudes, multiple strategies must be used. The majority of teachers did not strongly support or reject this new curriculum, and strong support would be needed for the curriculum to be successfully implemented. One of the most important things that the Taiwan MOE could do is to provide music teachers with on-going in-service teacher development programs and monitoring mentor systems, in ...

Description:
The two major research questions were: “What is the current status of 20 prominent piano pedagogy programs?” and “what is the vision of an ideal future piano pedagogy program from the perspective of 20 piano pedagogy leaders?” Subjects were the leaders of the top 20 US university piano pedagogy programs. A survey study with interview questions was used as the instrument for the study. The results showed that faculty, curriculum, and teacher training were three top factors that contributed to the quality of the programs. Most interviewed subjects held a doctoral degree in music. The curricular content and degree options were diverse across the selected programs. The content of teacher training included private and group teaching. The perceived best qualifications of a piano pedagogy instructor were to have a balanced education. Most programs had small or little to no budget, however, the preparatory program was perceived to be an enhancement to teacher training program finances. The greatest challenges were faculty acquisition and financial limitations. Gaining more money was the most common improvement priority for programs. To envision an ideal future piano pedagogy program, most leaders stated that an ideal program should contain encourage: (1) collaborating with other divisions' faculty members for developing a diverse curriculum, (2) providing multiple types of teacher training, (3) offering knowledge that is highly pertinent to students' future careers, (4) continually adjusting topics in the curriculum, and (5) utilizing all the possible resources to establish up-to-date facilities. The chief obstacle was a lack of money. However, finding a major donor, and developing a preparatory program to generate money may help to overcome the obstacles. Having administrators with positive attitudes toward pedagogy could help programs to gain more resources. Encouraging students to participate in workshops and conferences could enrich the training. Several recommendations may help emerging pedagogy ...

Description:
The first purpose of this study was to investigate whether different modeling conditions (Aural and Aural/Notated Transcription) produced significant differences for improvisation achievement. Another purpose was to investigate whether music learning theory-based improvisation instruction had an effect on students' self-efficacy for improvisation and for instrumental music. Participants (N = 76) from an accessible population of 6th through 8th grade instrumental music students were assigned to either an aural model group or an aural and notated transcription model group based on scores from Gordon's Harmonic and Rhythmic Readiness Records (1998). All students were administered two researcher-designed self-efficacy scales before and after a 10 treatment session music learning theory-based improvisation instruction. Following the treatment sessions, each participant was individually recorded and assessed by three experienced music educators. The posttest improvisation scores were subjected to an ANOVA, while the pretest to posttest scores of the students' self-efficacies for music improvisation and instrumental music were subjected to two repeated measures ANOVAs. The Bonferroni technique was used to adjust the alpha level from .05 to .017. The statistical analysis showed that there was no significant difference in improvisation achievement for the modeling conditions of aural and aural/notated transcription. Further statistical analyses showed there were significant increases in students' self-efficacy for improvising and for instrumental music following improvisation instruction. This study's results suggest that music educators should consider using either modeling technique for improvisation learning experiences. Results also suggest that music educators may wish to consider using a music learning theory-based improvisation approach to facilitate greater confidence in improvising. Additionally, results suggest that classroom music educators may wish to consider improvisation instruction as a means for achieving greater student confidence in instrumental music. This study concludes with issues for further study.

Description:
In the domain of music education philosophy there are, at present, two foundational systems that purport to be self-contained philosophies of music education. These are music education as aesthetic education, often referred to as MEAE, espoused by Bennett Reimer, and the praxial philosophy of music education posited by David Elliott. The debate between these two philosophies has been contentious and has had the effect of fracturing the philosophical underpinning of the music profession in an irreconcilable way. It is the purpose of this dissertation to introduce a third voice, that of the Danish philosopher Knut Løgstrup, to serve as a synergy between the philosophies of Reimer and Elliott and lead toward a framework of thinking for music education philosophy. I assert that the philosophies of Reimer and Elliott represent a modern articulation of an ancient dialectic between Platonic and Aristotelian ideals. Thus, the Reimer philosophy has its foundation in Platonic thought and Elliott has embraced an Aristotelian philosophical perspective. Løgstrup's position provides a third fundamental viewpoint that includes both Platonic and Aristotelian thinking and can therefore provide a synergy for these two music education philosophies. He refers to his philosophy as an ontological ethics. As a methodological approach, I utilize a metaphilosophical analysis in which I examine the Platonic tendencies of Reimer and the Aristotelian foundation of Elliott by examining both the content and the methodology of their prospective philosophies. I then make an application of Løgstrup's philosophical system, which is an ethical system, to music education philosophy and bring the most important aspects of Reimer's and Elliott's philosophies into a synergy using Løgstrup's ideas.

Description:
The purpose was to analyze Turkey's current music teacher training curriculum as situated in the centralized educational system, focusing on the extent to which the written document (1) reflects the core elements of the overall centralized educational system; (2) prescribes the nature of teaching materials and methods, assessment tools and other forms of evaluating and monitoring performance as teachers and musicians; and (3) acknowledges cultural diversity by addressing repertoire, musical activities and concepts according to geographic and cultural regions. Qualitative-descriptive and quantitative content analysis, including the methods of (a) Inverse document frequency and (b) relevance feedback model, were the analytic tools. Of the required 147 credit hours, 138 are the core. The music core consists of 87 (63%) and the non-music core of 51 credit hours (37%). On paper, there is a conceptual overlap in wording between the music core, the general core, and the teacher training core, suggesting curricular cohesion and consistency. Noticeably less cohesion exists between the document and three major policy papers on teacher competencies. By word count, preparing teachers for instruction in Turkish folk music and multicultural issues appears to hold a low priority in the curriculum. However, course descriptions, where they exist, speak to skills and knowledge linked to performing and understanding Turkish folk and art music, not Western art music alone. Missing from those descriptions is any reference to teaching materials and methods, specific assessment tools, and other forms of evaluating and monitoring students. With reference to works by Max Weber, Karl Mannheim, and Robert Merton, the study concludes with a discussion about issues and problems inherent in a centralized teacher program that seeks to prepare music teachers for a culturally diverse society.

Description:
High school band members (N=13) and their teacher were observed during six rehearsals of two contrasting band compositions over a six-week period. The contrasting compositions were selected by means of a detailed process between me (the researcher) and the teacher (the conductor). One 60-second excerpt of each composition was selected, during the performance of which, the students were observed. Three video tapings of each composition was done in order to capture occasions when the students would look up from their music. Using a technique adapted from Ekman (1997), the band members and teacher were then interviewed in order to reveal the reasons they recalled for looking up from their music. The results showed that the band members looked up in places where the teacher expected eye contact, that the frequency of eye contact changed little from one rehearsal to the next, and that the frequency of eye contact changed little between the two contrasting compositions. In all cases, the band members were able to recall the reasons for looking up from their music, a fact which led to a detailed analysis about the students' own thoughts while they were engaged in playing as an ensemble. The results are discussed in terms of strategies for teaching practice and implications for future research.

Description:
This qualitative study investigated four monolingual, English-only speaking Caucasian elementary music teachers and their reflections regarding instruction of English language learners (ELL). The purpose of this multiple case study was to investigate the teaching practice and curricular decisions of elementary music teachers who instruct Hispanic ELL students. The investigation was conducted during a nine-week period, and data collection included classroom observations, phenomenological interviewing, and teacher audio journals. None of the teachers had prior education or pre-service preparation in teaching music to ELL students. The major theoretical base from which the study was developed was the reflective teaching theory of Donald Schön (1983). The main research question was: "What are the participating teachers' reflections about their curricular and pedagogical decisions when teaching ELL students?" Following a description of the elementary music teachers' reflections on practice with ELL students, the study revealed that the majority of elementary music teachers had a lack of preparation and ELL music curriculum, and negative perceptions of the placement program for ESL students. Despite these factors, the teachers made attempts to include ELL students in all music activities. This study showed that while one teacher accommodated specifically for the ELL students' learning, three out of four teachers did not. This study also suggests that music is a subject by which strong interactions between peers, opportunity for language expansion, and other factors occur which have positive correspondence to recommended ELL instructional strategies. A cross-case analysis revealed that the life history and experience of the elementary music teachers had an influence on the teachers' awareness of ELL students. The analysis suggests a relationship between teacher awareness and accommodation. The study also recognized the need for further inquiry regarding ELL students and issues related to their school placement. This study has implications for music education research including suggestions for music ...

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